Marianna Gailus Photo by Joan Marcus

Delving into human relations during the 1890s in Norway, the action occurs over a two-day period within the Tesmans' villa. Hedda (Marianna Gailus), both tall and haughty, is an aristocrat who wishes to control her destiny through, perhaps, manipulation of those close to her. She is married to Jorgen Tesman (Max Gordon Moore), who seems, at best, pedestrian and is decidedly uncreative. Tesman, at different times, appears to be confused or insecure. Hedda is far more intrigued with Eilert Lovborg (James Udom), who does not appear on stage for quite some time. He is a writer and intellectual who might or might not have had a more personal involvement with Hedda in the past. She refers to Eilert as a man "with vine leaves in his hair."

Ibsen paints engaging supporting characters. Judge Brack (Austin Durant) is often on the scene and relates to a number of individuals, but remains skeptical of hopefulness. Hedda and Brack do have some involving conversations. Hedda informs him that she did not especially enjoy her honeymoon and does not really adore her house. Miss Juliane Tesman (Felicity Jones Latta) is Jorgen Tesman's aunt who more or less raised the boy after Jorgen's parents died. Mrs. Thea Elvsted (Stephanie Machado) hired Eilert Lovborg to tutor her children. She now worries that Eilert is prone, as he has been in the past, to drinking. Berte (Mary Lou Rosato) is a servant in the Tesman house. She wants to be of assistance to Hedda and is quite emotional as the detailed plot of this classic play unfolds.

Scenic designer Jessie Baldinger provides a full, realistic interior of the home. During the first act, a piano is situated stage right but is later replaced by a desk, a pivotal piece of furniture. The piano is then moved up one level to a back room. The desk includes a compartment which holds pistols and later on an Eilert manuscript. There's a significant sequence when Hedda approaches the desk, moves quickly, and an observer isn't positive whether she will fetch papers or a gun.

Ibsen brings us a woman caught within her recent marriage. She is unexcited with her life and proactively takes steps to break out of a trapped existence. She is smart and clever but hasn't any shining morals. The daughter of a general, whose portrait is visible, Hedda is anything but heroic. She wishes to be free even if the turn of events dictate otherwise.

Marianna Gailus's Hedda has splendid posture and she is austere. Costume designer Lyle Laize Qin provides the actress with a stunning pink/beige dress for her first appearance. It covers Hedda's body from neck to the floor and is transfixing. Hedda desperately wants to survive, but she requires a man whom she can wield. In order to achieve her ends, Hedda is not consistent and not always forthright. Gailus, with a B.A. in history from Yale and and M.F.A. from Juilliard Group 51, depicts Hedda as one whose arrogance is matched by her style. Her Hedda is self-centered and, while professing otherwise, narcissistic. The actress, from the moment she appears, wears this woman's countenance upon her face and holds fast to the character to the play's final conclusion. She displays remarkably exacting discipline throughout and the supportive cast members are admirably talented.

Director James Bundy, working with Paul Walsh's accessible translation, is sure-handed. One note: there are soft-spoken women are on stage at the outset of the third act which occurs in the morning as Hedda sleeps. Hence, the performers keep their voices down. The problem, however, is that they are not fully audible; those watching cannot fully discern their back-and-forth exchange.

For a significant portion of the time, this Hedda Gabler is a fine example of representational theatre. The actors converse directly with one another; the audience, through the quality of performance, is absolutely drawn in. Yale Rep's production of Hedda Gabler is strong on specifics, constantly authoritative, and not for the light-hearted theatregoer.

Hedda Gabler runs through December 20, 2025, at Yale Repertory Theatre, 1120 Chapel St., New Haven CT. For tickets and information, please call 203-432-1234 or visit Yalerep.org.